Flat Time House, 210 Bellenden Road, London, SE15 4BW
Simon & Tom Bloor: Residency Works
In 'Residency Works' Simon & Tom Bloor revel in the moments where creation and destruction meet. Review by Rachel Guthrie.
South London Gallery, 65-67 Peckham Road, London, SE5 8UH
Last Seen Entering the Biltmore
‘Last Seen Entering the Biltmore' is a show that explores the possibilities and interferences created by piercing through that imaginary wall that separates the stage from the backstage. Review by Francesca Cavallo.
Nikolaj Kunsthal, Copenhagen Contemporary Art Centre, Nikolaj Plads 10, 1067 Copenhagen, Denmark
Shahzia Sikander: Parallax
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Shahzia Sikander transforms miniatures into detailed, living, digitally animated stories.
The Drawing Centre, 35 Wooster Street, New York, NY, 10013
The Intuitionists
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Considering the role of the collection, the database and the aggregate in drawing.
Hannah Barry Gallery, 4 Holly Grove, Peckham, London SE15 5DF
A Strong Affinity
‘A Strong Affinity’ resonates somewhere between a science-fiction novel and an industrial blizzard. Review by William Davie
Cooper Gallery, Duncan of Jordanstone College of Art & Design, 13 Perth Road, Dundee DD1 4HT
Studio Jamming: Artists’ Collaborations in Scotland
Studio Jamming is the first discursive survey of grassroots initiatives that form a corner stone to the achievements of contemporary art in Scotland. Review by Alex Hetherington
Eastside Projects, 86 Heath Mill Lane, Birmingham B9 4AR
Grace Schwindt: ‘Only a Free Individual Can Create a Free Society’
In The Agony of Power Baudrillard asserts that the demise of the radical left in 1968 can be situated in a double refusal to be dominated or to dominate through power structures. The desire for autonomy from the bonding of a life in the production of capital, fractured into a bricolage of ideologies that saw the traditional modes of resistance transmute into the spectacle of violent acts by political agencies such as the Red Army Faction in Western Germany.
Kunstraum, Gorsuch Street, London, E2 8HD
Zin Taylor: The Tangential Zigzag
For Zin Taylor’s first solo show in the UK the Canadian-born Belgium-based artist has produced a new series of works on paper that incorporate thick marker pen lines, clippings from the artist’s archives, naïve pencil sketches and cuts of cured snakeskin. Review by Beth Bramich.
firstsite, Lewis Gardens, High Street, Colchester, Essex, CO1 1JH
Bruce McLean: Sculpture, Painting, Photography, Film
The exhibition 'Sculpture, Painting, Photography, Film' draws together a wealth of archival material surrounding Bruce McLean’s early conceptual works and experiments with sculpture. Review by Elizabeth Holdsworth.
apexart, 291 Church Street, New York, NY 10013 USA
The Hidden Passengers
apexart explore the relationships between contemporary art and scientific research.
The Institute of Contemporary Art, 100 Northern Avenue, Boston, MA 02210, USA
Jim Hodges: Give More Than You Take
The Institute of Contemporary Art, Boston presents the first comprehensive survey of Jim Hodges' work, offering poignant sculptural meditations on life, love and loss.
The Common Guild, 21 Woodlands Terrace, Glasgow G3 6DF
Hayley Tompkins: Digital Light Pools
Through careful selection and arrangement, Tompkins sieves and filters images like sediments. Review by Guo-Liang Tan
Victoria Miro, 16 Wharf Road, N1 7RW, London
Secundino Hernández
Hernández’s hand is volatile and unrepentant as it channels the passion and freedom of Pollock and Kline. Review by William Davie
Lisson Gallery, 52-54 Bell St, London NW1 5DA
Ai Weiwei
For his third solo exhibition with Lisson Gallery, Ai Weiwei has created a monumental new installation of bicycles as part of an ongoing series, ‘Forever’, as well as a number of hand-carved, domestic-scale copies – in various materials including wood, stainless steel and crystal – of some highly personal objects.
